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A VICTORIAN CIRCULAR SILVER SEWING BOX silver mount decorated with scallop shells, pin cushion top with acorn finial, 4 1/2" wide, London 1887.

A PAIR OF SILVER PLATE RECTANGULAR ENTREE DISHES AND COVERS decorated with shells and scrolls, 12" wide.

A Louis XV style reproduction four piece walnut dining room suite, comprising oval dining table, 182m, six chairs including two carvers, a cabinet, 124cm, side table with three drawers, 124cm, and a canteen table, 70cm, each decorated with carved drapes, shells and flowers, on cabriole legs

AN EARLY 19TH CENTURY BLOOR DERBY PORCELAIN CIRCULAR POT POURRI VASE AND COVER, blue ground with gilt tracery, pierced lid with foliate finial, red mark, 6 ins high (restoration to cover) and an Early 19th century Worcester porcelain BASKET, blue ground, decorated with sea shells, shaped gilded border, 6 1/2 ins x 4 3/4 ins, restored. (2).

A PIETRA DURA BROOCH, the oblong panel inlaid with a floral branch on a black ground, within yellow metal border with moulded shells and beading, 2" wide.

A BRASS TRINKET BOX of oval form, the hinged lid inset with a painted ivory panel depicting Cupid and Psyche, signed Lagrende?, the sides embossed with leaf tip banding over foliate scrolls and shells, on frilled base, 19th century, 3 3/4" wide.

Set of eleven (including two carvers) Victorian mahogany balloon-back Dining Chairs, each with shaped crest, carved bar, decorated with shells, leather upholstered seats and on octagonal tapering supports.

A George III cast caddy spoon unmarked, with scalloped shell bowl with embossed display of shells, with cast intertwined branch handle with foliate thumb piece 13.2g

A pair of Edwardian spoons, the circular bowls having hafts moulded with mask head, birds, flowers and shells, in case, London 1901, 3.16ozs.

A walnut cheval mirror, the arched oblong plate in cushion surround on square tapering uprights, on downswept legs moulded with shells, joined by cross stretcher, on pad feet, 20th Century, 53" high.

A large and impressive Victorian candelabrum/table centre, presented in 1864 by The Women of Sion Mills, Co. Tyrone, the column with five ornate branches below a pierced stand for a star-etched glass bowl, the tri-form base with dolphin supports, shells and finials. Height including glass dish 27ins. Sold together with its fitted pine travelling box with compartments for all the components. (See illustration)

A good 19th century shell collage with intricate geometric and other bands, at the centre a floral spray, an outer band worked as flowers, many of the stamen with shells mounted on springs, the mahogany glazed case with inlaid escutcheon. 15 3/4ins. (See illustration)

A collection of shells, etc., in a miniature chest.

Clifford Wyndham (20th century, British), oil on board, Still Life Shells, signed and dated 1973 to rear, measurements: approx. 42.5cm x 57cm.

A LATE VICTORIAN TWO HANDLED TRAY of rectangular form with a gadrooned border, interspersed with shells, the centre engraved with foliate and geometric motifs, with a central vacant cartouche, by Henry Aitken, Sheffield 1899, (c.108oz), 25" long handle to handle.

An unusual Doulton Lambeth stoneware teapot and cover modelled in low relief with sea shells, glazed in shades of green and brown, and a Doulton Lambeth stoneware vase by Arthur Barlow, incised and applied with scrolling flowers and foliage, in shades of blue, green and brown impressed and incised marks, restored top rim to Barlow vase teapot 13cm. high.

A pair of Fabergé silver candlesticks, Workmaster Julius Rappoport, St. Petersburg, 1908-1917. baluster shaped, cast and chased in rococo style with foliate scrolls and garlands, rocaille shells and foliage, with serpentine fluting, the removable sconces similarly decorated, marked ‘Fabergé’ and with workmaster’s initials, 88 standard (2), 15cm high, 36oz. Provenance: Sotheby’s New York, Fabergé, Russian Works of Art and Objects of Vertu, 11th December 1990, lot 227. Sotheby’s Geneva, Silver, Gold and Fabergé, 19th November 1996, lot 352. Note: Julius Rappoport (1864-1916) trained in Berlin and opened his own workshop in St Petersburg in 1883, quickly becoming one of Fabergé’s most important suppliers of silver objects. His range of products included large silver dinner services, silver-mounted functional objects and silver animals, very often using nature as inspiration. Provenance: Sotheby's New York, Fabergé, Russian Works of Art and Objects of Vertu, 11th December 1990, lot 227. Sotheby's Geneva, Silver, Gold and Fabergé, 19th November 1996, lot 352. See also footnote to lot 69

ROYAL YACHTING INTEREST, A Royal presentation prize ewer; The Queens Cup, Royal Albert Yacht Club, Edgar Finlay and Hugh Taylor, London 1890-91, retailed by H.M.E. Manuel and Son, 12 and 13 Ordnance Row, Portsea, loosely modelled on the America's Cup by Garrard, of ewer shape, the bold C-scroll handle with acanthus clasping and rosettes, the everted lip with a bold mask of Neptune below, the whole body profusely chased with vinery and fruit, a small central oval cartouche with a crest, a leaf clasped cartouche with engraved inscription to one side, the other with a similar cartouche with a scene of yacht racing, all supported by a central leaf clasped column with three cast dolphinesque supports and shells between, lower gadroon border and inscribed around the circular base, 61cm high, 110oz, Note: Engraved to the front: 'Presented by her Majesty The Queen to the Royal Albert Yacht Club 1890' and to the foot rim '"Queens Cup" won by DEERHOUND August 18th 1890, Charles G Nottage./rTHE CUP, Like the famous 'America's Cup', fashioned by Garrards forty years earlier, the Queen's Cup given by Queen Victoria to the Royal Albert Yacht Club, Southsea, in 1890 is a silver wine ewer, probably - if any function was ever intended for it - for use as a claret, champagne or hock/moselle jug in the fashion of the day. By 1890, Queen Victoria had, for many years, given three cups annually for yacht racing: one went automatically to The Royal Yacht Squadron at Cowes, one was given to either a Scottish or Irish 'Royal' yacht club and one was given to an English 'Royal' yacht club - 'Royal' yacht clubs were those with a Royal patron or commodore, or both. In 1890, it was the turn of the Royal Albert Yacht Club, founded in 1865 and which had previously received a Queen's Cup in 1873, to receive a Queen's Cup - The Queen's gift to the club being ascribed by The Portsmouth Times and Naval Gazette of 23rd August 1890 to the 'co-operation of the commodore, H.R.H. The Duke of Edinburgh'. In 1890, H.R.H. The Prince Alfred, Duke of Edinburgh (1844-1900), second son of Queen Victoria, was an admiral in the Royal Navy and commander-in-chief at Devonport./rTHE YACHT, Yacht 'DEERHOUND's lines were drawn by the famous G.L. (George Lennox) Watson (1851-1904), the Glaswegian designer of H.R.H The Prince of Wales's famous racing yacht 'BRITANNIA' in 1893 as well as several British challengers for the America's Cup and many of the most famous British racing yachts of the last thirty years of the 19th century. Built in Southampton by Black & Co. for Charles Nottage and rigged as a cutter, she was launched in 1889, her Gross Registered Tonnage being 56 tons, overall length 72 feet 4 inches, waterline length 58 feet 10 inches and beam 13 feet 3 inches; her sails were by Lapthorn and Ratseys and her sail area 4,065 ? square feet. She was a '40 rater' in the ratings of the Yacht Racing Association and raced in that class. Immediately successful as a racing yacht, she won Nottage nineteen prizes in 1890 and was top of her class in that year. Nottage sold her to the Marquis Ridolfi in 1892 and her name was changed to 'ORETTA'. Based in Livorno and subsequently Naples for the next twenty years, she changed hands several times, being renamed 'LUISA' in 1898, when bought by Vincenzo Murolo, and 'LUISA M.' in 1903. Last owned by Ernesto Murolo from 1909 to 1911, she disappeared from Lloyd's Register of Yachts in 1912./rTHE OWNER, Charles George Nottage was the only son of George Swann Nottage (1822-85) and Martha Warner (1832-c.1914). In 1855, George Swann Nottage founded the London Stereoscopic and Photographic Company and was proprietor of that highly successful commercial business until his death; he was also an alderman of the City of London, its sheriff 1877-78 and died in office as Lord Mayor in 1885. Charles George Nottage was born on 1st October 1852 and, after an education at Jesus College, Cambridge (BA and LLB 1879), was admitted to the Inner Temple, being subsequently called to the Bar on 11th May 1881. Nottage, generally known in yacht racing circles as 'Captain Nottage' because of his rank as such in the Devon Militia Artillery from 1885, first owned yacht 'FOXHOUND' and raced her from c.1886. 'FOXHOUND' was a 58 foot cutter, built by Fife of Fairlie in 1870 and Nottage sold her to the American yachtsman Harry North in 1889 when he bought yacht 'DEERHOUND'. By 1890, Nottage was one of the notable yachtsmen of his day, belonging to eleven yacht clubs - ten of them 'Royal' - in Britain and featuring in the yachting press on a regular basis from 1886 to 1892 as he and his crews sailed yachts 'FOXHOUND' and 'DEERHOUND' in regattas in both British and Continental waters. A Fellow of the Royal Geographical Society, Nottage succeeded his father as proprietor of the photographic business in 1885 and appears to have given up yacht racing when he sold 'DEERHOUND' in 1892. His health failing, he went on a world tour during 1892-93, visiting Hawaii and California and subsequently publishing a book on his travels. Nottage died in London on 24th December 1894. In his will, he left 13,000 for the establishment of the Nottage Institute at Wivenhoe in Essex - from which area he had drawn the crews for his two racing yachts - in order to instruct yachtsmen and other sailors, especially those from the Wivenhoe area, in navigation: this Institute, now known as the Nottage Maritime Institute, still exists in Wivenhoe. He also left money to the Yacht Racing Association for the annual award of what was to be called 'The Nottage Cup' but this bequest failed to meet appropriate charitable trust legislation and so could not be implemented./rTHE RACE, Such was the interest at the time in yacht racing that the race for which The Queen's Cup of the Royal Albert Yacht Club was presented on 18th August 1890 was covered in both the national and the local press. The Portsmouth Times and Naval Gazette specified the details of the race and course in the Solent on 23rd August 1890, as follows. 'Handicap for yachts of an above 25 Y.R.A. rating, owned by members of the Royal Albert Yacht Club. First prize, the Queen's Cup, value 100 guineas, presented by Her Majesty the Queen; 2nd prize, 30; 3rd prize 10. Course, from the starting vessel near the Spit Fort, round the Nab lightship, thence round the [Ryde] West Middle Buoy, and back round the starting vessel. Twice round - say 45 miles'. The Portsmouth Times's report went on to list the names, rigs, ratings and owners of the competing yachts. There were twelve entries, six cutters and six yawls, ranging in size from the largest yawl, 'LETHE' rated at 123.79, and the largest cutter, 'THISTLE' rated at 121, down to smallest yawl, 'ANACONDA' rated at 25.43, and the smallest cutter, 'DEERHOUND' rated at 39.73. A detailed report of the race was contained in the Portsmouth Evening News of 19th August 1890, as follows. 'All started but Anaconda. Mohawk was first over the line, at 2 minutes 13 seconds after ten. Deerhound was seven seconds later, Vanduara 16 seconds after her, and then came Neptune, Thistle, Maid Marion, Lethe, Naeira, Castanet, Wendur and Foxglove in the order named. The yachts had all sail crowded on and made a stately progress down to the Nab without much change of position. On their way down, the breeze freshened very slightly and veered to the westward. The Thistle assumed the lead and was well to the front on the way back to the West Middle Buoy, being followed by the Castanet, which was a long way ahead of the third vessel, the Vanduara. Wendur hugged the Isle of Wight shore too closely, forgetting the set of the tide, which caused her to fall sadly behind, with Foxglove as a near companion. These were the last two and the remaining six yachts filled up in processional order the gap between them and the three leading vessels. The wind had now gone round to the south and increased so

A matched set of four silver salts, two John Mortimer and John Samuel Hunt, London 1840-41, the other pair Mayerhoffer and Klinkosh, circa 1865, also with two spoons, London 1904-05. the salts modelled as large parcel gilt clam shells, supported on the back of a standing eagle with its wings stretched and standing on a rocky base (4), 10cm high, 9.5cm wide, 68oz

A large early Victorian silver Warwick cruet, Edward I, Edward II, James and William Barnard, London 1838-39. the frame of four eagle’s masks, acanthus and claw and ball feet, with central baluster handle and reeded shell, scroll handle, the base with similar chased border, the front with a foliate scroll and diaper work cartouche, engraved with a coat of arms, fitted with three octagonal lidded casters, each on a spreading octagonal foot, the covers and with pineapple finials, two pierced, one blind, the bodies chased with panels of shells, scrolls and flowers on a matted ground; two silver-mounted cut glass bottles, with silver neck mounts chased with scrolls and foliage and each with leaf-capped scroll handles and hinged domed covers, two casters engraved with a crest, the large caster and the bottle covers engraved with a crest and motto (6), 39cm high, 110oz/r, Heraldry: The arms are those of Darby with Grant in pretence for Francis Darby Esq. of Sunniside House, Coalbrookdale, Shropshire, and his wife Hannah, only daughter of John Grant. Francis Darby was the son of Abraham Darby who, with John Wilkinson, designed and constructed the Iron Bridge over the Severn at Coalbrookdale. Provenance: Christie’s London, 15th July 1998,, lot 152 Anon sale, Christie’s New York, 5th October 1979, lot 191. The arms are those of Darby with Grant in pretence for Francis Darby Esq. of Sunniside House, Coalbrookdale, Shropshire, and his wife Hannah, only daughter of John Grant. Francis Darby was the son of Abraham Darby who, with John Wilkinson, designed and constructed the Iron Bridge over the Severn at Coalbrookdale. . Provenance: Christie's London, 15th July 1998, lot 152. Anon sale; Christie's New York, 5th October 1979, lot 191

An impressive George IV silver dessert bowl, John Bridge for Rundell, Bridge and Rundell, London 1824-25. the large clam shell with a surmount of a twin tailed triton blowing a conch, the shell supported by three hippocamps in a wild sea setting and supported by three groups of clam shells, coral and turtles, 38cm high, 42cm wide, 40cm deep, weight 343oz. Provenance: Sotheby’s New York, 14th April 1999, lot 213. Note: A similar set of four silver- gilt dessert bowls with covers were made for the Royal Collection by John Bridge 1826-27. Literature: Jones, Windsor, p.160, pl. LXXXI; Bury, ‘Rundell’s’, I, p.152 (one of a set), Exhibited: Royal Goldsmiths: The Art of Rundell & Bridge 1797-1843, Christopher Hartrop, exhibition by Messrs Koopman Rare Art Ltd. 2005

An impressive George IV silver dessert bowl, Philip Rundell for Rundell, Bridge and Rundell, London 1821-22. the large well-modelled clam shell supported by three hippocamps in a wild sea setting and supported by three groups of clam shells and turtles, engraved with the crest and monogram of Harriet Duchess of St. Albans, 27cm high, 40cm wide, 39cm deep, weight 298oz/rNote: A similar set of four silver-gilt dessert bowls with covers were made for the Royal Collection by John Bridge 1826-27. Literature: Jones, Windsor, p.160, pl. LXXXI; Bury, ‘Rundell’s’, I, p.152 (one of a set), Exhibited: Royal Goldsmiths: The Art of Rundell & Bridge 1797-1843, Christopher Hartrop, exhibition by Messrs Koopman Rare Art Ltd. 2005. Heraldry: The monogram AGBC is for Angela Georgina Burdett -Coutts, granddaughter of the banker Thomas Coutts and heiress to Harriet, Duchess of St Albans. Literature: J. B. Hawkins, The Al-Tajir Collection of Silver and Gold, London 1983, vol.1, p.164-65. Note: Similar set of eight exhibited Christie’s,’ The Glory of the Goldsmith: Magnificent Gold and Silver from the Al-Tajir Collection’, London, 1989, no.151. The design for these salt cellars is attributed to the painted and sculptor William Theed (1764- 1817), on the basis of its close similarity to the artist’s bronze ‘Thetis returning form Vulcan with Arms for Achilles,’ in the Royal Collection and exhibited in the Royal Academy of Arts Bicentenary Exhibition, fig. 171, p.50. Theed supplied designs and worked as the chief modeller for Rundell, Bridge & Rundell, and a design drawing for these salt cellars from an album belonging to Rundell’s is now in the Victoria and Albert Museum (see A. Phillips and J. Sloane, Antiquity Revisited: English and French silver-gilt from the Collection of Audrey Love, 1997, pp.48-49), There are at least three variations of this model, each with a differing base: A set of twenty four with oval bases by Paul Storr of 1810 is in the Royal George IVs Palace, 1991, cat. No.95, p.133; a set of four salt cellars with oval base, by William Pitts of 1813, is illustrated in Antiquity Revisited, cat. No.6, p.47;, A set of four, each on rectangular plinth with chased vitruvian scroll border, by Paul Storr from 1812, sold from the collection of Charles and Fay Plohn, Sotheby’s, New York, July 16, 1970, lot. 138. A set of four salt cellars, each with a base similar to the present lot, was produced by John Samuel Hunt in 1855 and sold at Christie’s, London, March 17, 1999, lot.50. As a successor to Paul Storr, Hunt evidently retained and continued to use the moulds.

A fine George IV silver-gilt table bell, John Edward Terrey, London 1820-21. the cast body chased with shells, flowers and foliage against a matted ground, the handle formed as four plumes rising to a cushion knop chased with scrolls and flowers surmounted by a finial formed as a marquess’s coronet, 12.6cm high. 13oz. 10dwt, Literature: The Collection of Alan and Simone Hartman, Christie’s New York, 20th October 1999, lot 177. Provenance: The Collection of Alan and Simone Hartman, Christie's New York, 20th October 1999, lot 177

A set of four exceptional George III silver-gilt candlesticks, Paul Storr, London 1811-12, one nozzle 1812-13. each on serpentine square base, elaborately cast with shells, scrolls and four masks, each representing the seasons: Neptune amid rocaille and shells, Flora amid flowers, Pomona amid fruit, Bacchus amid grapevines, the square tapering stem with pendant husks and stylised ornament under a border of acanthus, rising to a circular fluted socket with similar band, the removable nozzle engraved with a crest (4), 22.8cm high, 118oz (4), Heraldry: Engraved with the Ducal coronet above a crest within the Garter for Lt. Col. Sir William Lowther, 1st Earl of Lonsdale. Provenance: Christie’s New York, 20th October 1999 lot 181 The collection of Simone and Alan Hartman. Sotheby Parke-Bernet, New York, June 10, 1980, lot 273 (set of 4). Christie’s, London February 19-20, 1947, lot 151 (set of 12). Then by descent of Lancelot Edward, 6th Earl of Lonsdale, O.B.E. (1867-1953), William Viscount and Baron Lowther, 1st Earl of Lonsdale (1757-1844). Literature: Penzer N. Paul Storr, p. 174, illus 175, for an identical pair from the Victoria and Albert Museum, from the Duke of Cumberland’s collection, given by Mr. L A Crichton. Note: Another set of four sold Christie’s New York, 16th April 1999, Important English silver from a New England Collection, lot 192. Engraved with the Ducal coronet above a crest within the Garter for Lt. Col. Sir William Lowther, 1st Earl of Lonsdale, KG. . Provenance: Christie's New York, 20th October 1999 lot 181, The collection of Simone and Alan Hartman, Sotheby Parke-Bernet, New York, June 10, 1980, lot 273 (set of 4), Christie's, London February 19-20, 1947, lot 151 (set of 12), Then by descent of Lancelot Edward, 6th Earl of Lonsdale, O.B.E. (1867-1953),, William Viscount and Baron Lowther, 1st Earl of Lonsdale (1757-1844), Ref Penzer N M Paul Storr, p174 - illus 175 for an identical pair from the Victoria and Albert Museum, from the Duke of Cumberland's collection, given by Mr L A Crichton, Another set of four sold Christies New York, 16th April 1999, Important English silver from a New England Collection, lot 192

An important pair of George II silver candlesticks, Paul de Lamerie, London 1737-38. the square bases with inturned corners, cast leaf detail and chased shells to the corners, the dome with applied and cast shells in cartouches on a matted ground, rising to a tapering square baluster stem with shell detail to the shoulders, scale pattern to the sides, foliate clasped socket, the base engraved at the flat with a rose crest (2), 19.5cm high, 22oz each, Heraldry: The crest of the rose is probably for Sir Theodore Janssen (1658-1748), a Dutch merchant who settled in England circa 1680 and was a founder director of the Bank of England. He was created a baronet 1714, a very successful financier with a reputed wealth of 300,000. He was implicated in the South Sea Bubble scandal and was heavily fined by the House of Commons committee in 1721. Provenance: Sotheby’s London, 6th November 1997, lot 163. The other two of a set of four were sold by Christie’s New York, 19th October 2004, lot 1062. Note: A set of four salts also by de Lamerie and engraved with the same crest are in the Farrer Collection at the Ashmolean Museum (Illus. Susan Hare, Paul de Lamerie, no. 78, p.122), The crest of the rose is probably for Sir Theodore Janssen (1658-1748), a Dutch merchant who settled in England circa 1680 and was a founder director of the Bank of England. He was created a baronet 1714, a very successful financier with a reputed wealth of £300,000. He was implicated in the South Sea Bubble scandal and was heavily fined by the House of Commons committee in 1721. Provenance: Sotheby's London, 6th November 1997, lot 163. The other two of a set of four were sold by Christie's New York, 19th October 2004, lot 1062. A set of four salts also by de Lamerie and engraved with the same crest are in the Farrer Collection at the Ashmolean Museum (Illus. Susan Hare, Paul de Lamerie, no. 78, p.122)

LURES: Large collection of mainly unused lures by Mepps, Loftys Cobra Tasmanian Devils in packs, rubber baits, an Abu tackle box containing various metal and rubber baits and a tin of approx 50 3" Devon shells.

AN AFRICAN IVORY AND BRONZE OLIPHANT, the ivory carved with a frieze of seated figures supporting an enthroned figure, the metalwork cast with spiral and woven designed, the central section adorned with fabric and cowrie shells, 19th century. 58cm high.

A Minton Majolica Oyster Plate, decorated with oyster shells in green and brown, on a predominantly pale blue ground (hairline crack), impressed mark, number and registration diamond (also with rim chip), 9” diameter

A decorative single sided metal advertising sign "Infallible Smokeless shotgun Powder in Loaded Shells..." 38cms x 25.5cms

Two mother of pearl shells, mounted, a brush pot etc

A Longcase Clock, the 32 cm arched square painted dial signed J A S AITKEN, WHITEHORN, with Roman numerals, the arch and spandrels painted shells, fitted an eight day movement, in a mahogany case, 205 cm high

A William IV silver shaped circular waiter by William Brown, London 1835, chased with a band of flowering scroll foliage, the border of shells and scrolls, on shell and scroll feet, 22.5cm (8.75in) diameter, 477g (15.25 oz)

A German silver oval sugar bowl, maker's mark 'GN' above 'B', Nurenberg mid 18th century, lobe moulded and with shells, the central spoon stand with a rocaille finial and a turned stem, on an oval pedestal with rocaille moulding, engraved 'AL', 16cm (6.254in) wide, 211g (6.75 oz)

Royal Worcester blush ivory vase modelled as a group of shells, puce printed 2351 and 1905 date code to base, 23cm high

A pair of Louis XV style carved walnut fauteuil, upholstered in a floral silk, the cartouche shaped back carved with shells, scrolls and foliage with scroll arms having padded rests to a serpentine front seat on moulded carved cabriole legs to knurled toes, late 19th / early 20th century. (2)

An early 19th satinwood domed top tea caddy, with marquetry shells, the interior with a later brass lift-out liner, 5.25in (13cm) h, 7.75in (19.5cm) w, 4.5in (11.5cm) d.

A mahogany Pembroke table, the oval moulded edge drop-leaf top inlaid stringing above a bowfront frieze drawer flanked by marquetry shells on square tapering legs to brass castors, early 19th century and later, 27.75in (70cm) h, 31.75 x 38.5in (80.5 x 97.6cm) open. Cracks to top.

George Oyston, (1861-1937), Mother and child feeding swans in an extensive river landscape, signed and dated 1918, watercolour, 35 x 45.5cm, in pierced gilt frame decorated with shells and scrolling foliage.

Two flatweave camel namdahs, one applied with cowrie shells, and three tassels, one applied with beetle-wings and cowries, from Banni, Kutch

A Banjara patchwork cloth, with squares of blue and red cotton, some with shisha, and edged with white zigzag borders, applied with cowries along the edges, and tassels in the corners, (In-99). Used to cover the coconut offered to the bride at marriage as a symbol of Shiva with three eyes, carried in Gujarat by female relative of bride, elsewhere probably by small boy, denoting wish or sons; a Banjara cover for the nape of the neck (galla), embroidered in thick red cotton with patterns of squares, chevrons and crosses, edged with cowries, and with tassels at the base of string, hair and metal, (In-100); a Banjara bag of red and blue cotton quilted in white thread, the edges and seams decorated with cowrie shells, and with a triangular amulet embroidered in red and yellow and hung with three tassels of metal and pink wool, (The Afghan amulet and the reason I bought it), (In-121); and a Banjara manÆs belt with pendant strip, solidly worked with geometric patterns in navy, yellow, green and plum brick stitch, the ends hung with goathair(?) pompoms and bells, (In-141)

Britains, No.1264 4.7 naval gun, khaki, with packet of aluminium shells and instruction sheet, circa 1960s (M,BNM)

Dinky, 615 US Jeep with 105mm Howitzer, driver has no helmet, on pull out tray of display box with pack of 6 shells (M,BVG) (Illus.)

A quantity of beads. Including a string of Art Deco beads, a string of carnelians, a simulated pearl choker and others including shells (a parcel)

A 9ct gold charm bracelet. Curb linked bracelet with 24 charms, including an Alpine chalet, shells, claw and ball and others 75.9g

A SILVER PLATED SHAPD TRAY decorated with shells and scrolls. 16ins diameter.

A SILVER PLATED TABLE CENTREPIECE formed as three large shells holding an etched trumpet shaped glass vase. 14in high.

Two mother of pearl dish shaped shells, the applied rim mounts decorated with Eastern niello motifs, including; figures, palm trees and boats and a shaped oval niello decorated dish, the centre with palm trees and dhow's, within a border of facsimile signatures.

A Derby porcelain bowl modelled as a large shell supported on three conch shells, coral and other smaller shells in the white, 23cm wide, patch marks, circa 1760, glue repair between base and bowl.

A wicker picnic basket with fitted interior, two ceramic elephants and two conch shells

A Minton Majolica revolving oyster stand, the four tiers of oyster shells ridged and painted brown between green seaweed, below a crossed fish finial topped by an eel, impressed marks and date code for 1882, chips to a few of the shells, 31cm. Cf. Marilyn G. Karmason & Joan B. Stacke, Majolica, p.45.

A pair of Meissen double sweetmeat dishes, modelled as a young man stirring a saucepan, and a young lady plucking a goose, each seated between two shells, raised on rococo bases, crossed swords marks, 19th century, damages, 24.5cm. (2)

A large Newlyn copper tray rectangular section, hammered in relief with a frieze of fish, weed and shells stamped Newlyn 61cm. wide

A Newlyn copper tea caddy and cover hammered in low relief with three galleons at full sail, the cover with two scallop shells, stamped NEWLYN 14cm. high

A Victorian rosewood oval centre table the top with a moulded edge, on double scroll supports with central shells, the downswept legs with brasss castors and joined by a turned pole stretcher 135cm long, 76cm high

A late 18th century Chinese tea caddy and cover, the ovoid shape painted with rococo shells and leaves above applied gilt scroll foot band, 13cm high (D) (2)

19TH CENTURY ENGLISH SCHOOL Still life, shells. Together with two other still lives by the same hand.

A Brannam (Barnstaple) lustre decorated oval Vase, embossed with a dimple design and decorated in iridescent colours, 7" high 161. A Plymouth Fantasy Vase, the dimpled body applied with crustaceans, shells etc, decorated in off-white crackle glaze (some losses throughout), 10 ½" high

Two Portuguese Majolica circular Plates, encrusted with lobster, other crustaceans and shells etc, decorated in colours throughout, 12" diameter (2)

A decorative Oriental covered two-handled Baluster Vase, the cover with a temple dog finial and decorated predominantly in iron red; an unusual Majolica covered Pot, the lid applied with a handle formed as a crab; and an early 19th Century English helmet-shaped Cream Jug, decorated with sea-shells (3)

A tray containing a large quantity of Shells and Fossils, housed within small specimen containers